{"id":1350065,"date":"2024-03-29T00:15:00","date_gmt":"2024-03-29T06:15:00","guid":{"rendered":"https:\/\/www.artistsnetwork.com\/?p=1350065"},"modified":"2024-03-27T15:47:45","modified_gmt":"2024-03-27T21:47:45","slug":"10-acrylic-works-of-art-see-what-the-medium-can-do","status":"publish","type":"post","link":"https:\/\/www.artistsnetwork.com\/art-mediums\/acrylic\/10-acrylic-works-of-art-see-what-the-medium-can-do\/","title":{"rendered":"10 Acrylic Works of Art \u2014 See What the Medium Can Do!"},"content":{"rendered":"\n

Inspirations in Acrylic: 10 Works That Showcase the Excitement and Diversity of the Medium <\/strong> <\/h2>\n\n\n\n

For landscape artist Marcia Burtt, acrylic paint has been a perfect medium for her creative process and techniques. \u201cThe biggest benefit,\u201d she says, \u201cis that the medium allows me to paint without having to worry about what the finished piece will look like. I can experience each session as a joyful adventure with no apologies, agony, or recriminations. I don\u2019t have to plan or draw beforehand because I know I can obliterate or repaint later without regret.\u201d Last year, when Burtt served as the Juror of Awards for the 10th<\/sup> annual AcrylicWorks art competition, she enjoyed seeing the exciting variety in the entry pool\u2014and the wealth of talent. The following honorable-mention-winning artworks she selected are a great example of the tremendous diversity and boundless creativity to be found in contemporary acrylic painting. Start browsing 10 acrylic works to kickstart your own creative engine! <\/p>\n\n\n\n

If you paint with acrylics, don\u2019t miss your chance to participate in the latest AcrylicWorks competition. In addition to cash awards for three top winners, 100+ finalists will be featured in the annual publication, The Best of Acrylics<\/em>. Enter today! Final deadline is April 9, 2024. <\/p>\n\n\n\n

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I Only Want to Be With You<\/em> (acrylic on canvas, 36×72) by Hanna MacNaughtan <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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I Only Want to Be With You<\/em> by Hanna MacNaughtan\u00a0<\/strong><\/p>\n\n\n\n

I Only Want To Be With You<\/em> was inspired by the most beautiful little meadow that grows along the river not far from my home. On certain days when the light is just right, there\u2019s a beautiful golden glow that rises up all around it. Perhaps it\u2019s caused by the light reflections from the river that runs along the far edge.  <\/p>\n<\/div>\n<\/div>\n\n\n\n

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In Retrospect<\/em> (acrylic on paper, 12×8) by Cher Pruys <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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In Retrospect<\/em> by Cher Pruys<\/strong>\u00a0<\/p>\n\n\n\n

I absolutely love working in acrylics. The fast-drying characteristic of this medium is, at times, a bit challenging when it comes to blending, so I find it crucial to water down my acrylic paints. The 300-lb. hot-pressed surface aids in the successful portrayal of fine detail that\u2019s such an integral part of my work.  <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Nest Foraging<\/em> (acrylic on gallery-wrapped canvas, 15×30) by Reenie Kennedy<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Nest Foraging<\/em> by Reenie Kennedy<\/strong>\u00a0<\/p>\n\n\n\n

Birds often inspire my work, as they add a punch to most settings. Just looking at them sets my mind on a storytelling path. Because it dries fast, acrylic is an excellent medium for layering colors, as I did here, to add depth and shadows to the work. My goal for this piece was to form a balance between warm and cool tones among the intricate weave of reeds, guiding the eye from shade to bright sunlight and around the composition.  <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Flow\u2014Hold the Key to Open the Door of Memory<\/em> (acrylic on linen, 23\u00bdx35\u00bd) by Haoran Chang <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Flow\u2014Hold the Key to Open the Door of Memory<\/em> by Haoran Chang<\/strong>\u00a0<\/p>\n\n\n\n

When a ray of light shines, the opposition between <\/strong>reality and emptiness will affect us. When the key between your fingers opens the door of memory, you must decide whether to move forward toward the light or retreat into the endless darkness. <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Winter Sunset <\/em>(acrylic on Yupo, 20×26) by Margaret Roseman<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Winter Sunset<\/em> by Margaret Roseman<\/strong>\u00a0<\/p>\n\n\n\n

Working with acrylic paints on Yupo paper allows me to create works that push toward abstraction while still capturing the atmosphere inherent in a landscape. Applying layers of unexpected color in both a transparent and opaque form produces a unique textural quality that captures the sparkle of light. In all of my works, the tendency for near-abstraction and dramatic contrast allows me to manipulate form and color to capture the essence of a scene.  <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Creek Song<\/em> (acrylic on Gessobord, 9×12) by Nancy Roberts<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Creek Song<\/em> by Nancy Roberts<\/strong>\u00a0<\/p>\n\n\n\n

I started Creek Song<\/em> along a quiet creek near my home in Northern California, then continued it in my studio, working from memory and imagination. Using both heavy body and Golden OPEN acrylics on an Ampersand Gessobord panel, it was a joy to explore and sculpt the design\u2014building with sheer layers of color, impasto passages, linear marks, and scraped patterns as this shimmering new landscape emerged. My paintings tell me what they want. My job is to listen. <\/p>\n\n\n\n

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After the Rain<\/em> (acrylic and water-soluble oil on canvas, 24×36) by Shu-Chih Murray <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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After the Rain<\/em> by Shu-Chih Murray<\/strong>\u00a0<\/p>\n\n\n\n

Painted from life in my studio, these yellow irises came from my garden. I started the work by laying the irises on my canvas to arrange the composition. I applied water to the canvas before using acrylic ink, creating natural waves and curves. Then I switched painting techniques and used acrylic ink before adding water, allowing gravity to do its job. Once dry, I used water-soluble oil for details.  <\/p>\n\n\n\n

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Sunlit Green Apples<\/em> (acrylic on illustration board, 12×16) by Tai Meng Lim <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Sunlit Green Apples <\/em>by Tai Meng Lim<\/strong>\u00a0<\/p>\n\n\n\n

I captured the various colors of the apples in reference photos before I started painting. I chose natural sunlight as the illuminating source and experimented with different exposures and settings. Once I had the reference, I prepped the ground with gesso and then carefully mapped out the drawing on illustration board. Next, I created the underpainting with a raw umber color to define the value. I followed that with more applications of color in multiple layers, working from thick to thin to build up a realistic image. To build the transparency and reflective effects, similar colors were then painted next to one another in a sequence of shapes and lines, creating a flow that provides the composition with a sense of dynamism. <\/p>\n\n\n\n

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Twilight <\/em>(acrylic on clayboard, 24×36) by Linda Heath Clark <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Twilight<\/em> by Linda Heath Clark<\/strong>\u00a0<\/p>\n\n\n\n

Twilight<\/em> was created using subtractive scratchboard techniques with acrylic on a white clayboard surface. I achieved the final three-dimensional effect by alternating painted layers of high-flow acrylics with the selective removal of the dried acrylic by scratching through to the white clay below using knives, scalpels, tattoo needles, fiberglass brushes, and steel wool. I then reapplied thin washes of acrylic and scratched again. Scratching creates highlights and details. Washes of acrylic tint the scratches, suggesting contours and shadows. The scratches are fully visible when viewed up close, yet from a distance, the piece blends into a harmonious whole. <\/p>\n\n\n\n

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Out to Pasture<\/em> (acrylic on canvas, 24×30) by Carol Loeb <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Out to Pasture<\/em> by Carol Loeb<\/strong>\u00a0<\/p>\n\n\n\n

Rusty objects, from old factories to abandoned vehicles to ancient metal containers, are favorite subjects of mine. I\u2019m intrigued and captivated by the variations of colors and textures on the metal as time and neglect claim another victim. In Out to Pasture<\/em>, I limited my color palette to warm orange-browns and soft blue-grays, eliminating everything else around the tractor to keep the focus on it. I applied layers of opaque acrylic paint for the lichen, and used translucent acrylic paint to build up depth within the metal surfaces. The subject is the tractor, but the story is about time. <\/p>\n\n\n\n

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